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:: Friday, SEPT. 30 - Thursday, OCT. 6 ::

Note: An interview with A MAN CALLED OVE’s director Hannes Holm is new on our blog (


E. A. Dupont's VARIETÉ (Silent German Revival/Special Event)
Film Studies Center (at the Logan Center for the Arts, 915 E. 60th St., Univ. of Chicago) - Sunday, 7pm*

Critical taste waxes and wanes, but mundane issues of availability often drive the conversation more than the discussions in low-circulation film journals. VARIETÉ is a case in point; for many years, it was a museum classic, showing endlessly in 16mm in film societies, classrooms, and the like. For the generation of cinephiles that received their film education from Films in Review, mimeographed program notes, and the Museum of Modern Art Circulating Film Library, VARIETÉ was a canonical picture, alongside other faded landmarks like THE COVERED WAGON (1923), CARNIVAL IN FLANDERS (1935), and FARREBIQUE (1947). It was a ubiquitous example of Weimar cinema until the 1960s, while titles like PANDORA'S BOX (1928), FAUST (1926), and SPIONE (1928) were nearly impossible to see. VARIETÉ achieved momentarily durable fame despite the fact that the version circulated by MoMA was severely truncated, whittled down from an already-censored American theatrical edition released by Paramount. The more scholarly film societies began to notice that the prints they rented bore scant resemblance to the narrative arc described by Siegfried Kracauer in From Caligari to Hitler. And then the film simply receded, growing more distant as repertory houses gravitated toward 35mm and the lack of home video availability consigned it to obscurity. I recall seeing stills and frame enlargement in the older film books I devoured as a teenager, but never once had an opportunity to actually see VARIETÉ. I thought I never would. Now the Murnau Stiftung has finally produced a restoration of VARIETÉ that allows us to evaluate it alongside the superlatives for the first time. (Ironically, the best surviving material for the film was a nitrate print of the American version held at the Library of Congress; copies from European archives were necessary to restore the fleeting nudity and some crucial flashbacks.) The film is a technical marvel, and the sense of atmosphere easily bests the leaden theatrics of Benjamin Christensen's THE DEVIL'S CIRCUS (1926). The razzle-dazzle is on par with Dupont's subsequent PICADILLY (1929), but viewers today are more likely to view VARIETÉ in the context of Emil Jannings' career rather than Dupont's. It demonstrates yet again the sad typecasting that would shape Jannings' career in the wake of THE LAST LAUGH (1924); his bourgeois man brought low and humiliated by sexual temptation or the maniacal drive for status would be repeated almost note-for-note and gesture-for-gesture in VARIETÉ, THE LAST COMMAND (1928), and THE BLUE ANGEL (1930). Or perhaps Jannings himself was simply the consummate conformist; while Peter Lorre, Marlene Dietrich, and Conrad Veidt fled Germany, Jannings stayed behind and insinuated himself within Goebbels's propaganda machine. Live musical accompaniment of their original score by the Alloy Orchestra. (1925, 95 min, DCP Digital; New Restoration) KAW
*Unlike most FSC events, this one has an admission charge; visit to purchase tickets.
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Rob Christopher's PAUSE OF THE CLOCK (New American)
Gene Siskel Film Center – Monday, 8pm

Originating as a student film, PAUSE OF THE CLOCK was started in 1995-96 by Rob Christopher and then abandoned after funds ran out, the partially edited original 16mm reels and audio tapes languishing, mostly forgotten, in storage. It's safe to say that when he returned to the project twenty years later, his distance and maturity and honed critical acumen allowed him to create a final product that would have been impossible for his early-20s self to achieve. PAUSE OF THE CLOCK has been billed as a time capsule of a film, a work produced in two different centuries and encapsulating a vision of the past as urgently present through its fresh, present-tense look at a mid-1990s world that no longer exists. That sells it short. Central to the film's power and expert manipulation is how it plays with as many as four different chronologies, different nows, overlaid upon one another simultaneously. There is the now of the ostensible plot line, which tells of a student filmmaker, Rob, played by Christopher, making a film called “Crueler Than Truth” with his friends, starring his roommate Dylan (Dylan Lorenz) and shot by his friend Tchavdar (Tchavdar Georgiev). Over the course of the shoot, Dylan reads through Rob's diaries and learns that his character in “Crueler Than Truth” is based on Rob's own life. There is the now of the film within the film, in which two young lovers gently explore their sexualities and learn to come to terms with the overwhelming beauty of nature surrounding them. There is the now of the original shoot, with Christopher and Georgiev collaborating on some of the most picturesque and expressive cinematography I've ever seen in a student production. And, most importantly, there is the now of Christopher's return to the material, refashioning the raw mass of footage into a network of overlapping congruences and ambiguities worthy of the best gamesmanship of Rohmer and Resnais, for while the putative central relationship is between the characters of Rob and Dylan, Christopher's dangerously seductive quadruple narrative builds itself out of layers of interference and implication into a covert examination of how far a film's camerawork and editing can be in tension before it deconstructs itself into incoherence. Georgiev's gorgeous and intricate patterns of shadow and space create meshes of autumnal languorousness, currents of liquid movement that gently explore the ways a face can betray a feeling, the ways a thought can emerge from the hidden recesses of a gesture. As sensuous as the camerawork is, the precise, entomological editing threatens to excise the erotics of the visuals just as they are on the point of emerging. Christopher, working with editor Petr O'Sirhc, turns the warmth and intimacy of the visuals into a clinical investigation, dispassionately allowing events to unfold until they reveal their own absurdity and exactly no further, juxtaposing moments of despair and passion in such a way as to make them seem the love affairs of strange, extinct civilizations. In essence, the master game Christopher is staging is between the utopian dream of a unified, beautiful existence, once that can always be recuperated and is always worth reconstructing, no matter what the cost might be, and the disassembled, patchwork charade of life we pretend we don't lead. Time, PAUSE OF THE CLOCK insists, scars and heals to exactly the same degree; this film itself is an intricately sutured scar formed into 78 short minutes of astonishment. Christopher in person. (2016, 78 min, DCP Digital) KB
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Andrzej Zulawski's POSSESSION (International Revival)
Music Box Theatre – Friday and Saturday, Midnight

Originally hacked down for American release to a schlocky--and downright absurd--ninety-minutes, POSSESSION has been restored to Zulawski's original cut. The added footage doesn't necessarily make the infamous tentacled-monster sex thing any less nuts, because it still is a shocking sight to behold. But its purpose is more nuanced and creepy when the film really goes off the rails. Drawing from his own divorce, Zulawski's film follows the collapse of Mark and Anna's marriage and the impossibility of Mark ever fully knowing, or possessing, his wife in love. Largely set in an apartment near the Berlin Wall, Mark is confronted with divorce and descends into severe depression. He emerges in a near-psychotic state intending to reclaim Anna and their son. He soon becomes aware of Anna's lover, but after confronting him, both men realize Anna is seeing someone--or something--else. Zulawski keeps the camera in almost constant motion, pushing in and pulling back during confrontations between Mark and Anna as their fights escalate to bloody moments that are somehow both expected and completely terrifying. In one scene, Anna grinds meat as Mark maniacally berates her. The noise of the kitchen rises with the tension and Anna, tired of the diatribe, takes an electric knife to her neck. Paired with scenes of their individual genuine tenderness toward their son, POSSESSION is filled with mirrors. Mark meets his son's schoolteacher, a benevolent doppelganger for his wife, and a double of Mark appears with Anna at the end. Even the setting is exploited for an otherworldly nothingness and an exactness in East and West Germany, itself perversely mirrored. The unrestrained acting--Anna thrashing hysterically could describe many scenes--adds to a heightened reality where Anna's possession is not demonic, but love can be. (1981, 123 min, 35mm) BW
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Derek Jarman’s BLUE (British Revival/Experimental Documentary)
Block Cinema (Northwestern University) - Friday, 7pm

“‘How vain a thing is painting,’” André Bazin wrote in his seminal book, What is Cinema?, paraphrasing Blaise Pascal, “if underneath our fond admiration for its works we do not discern man’s primitive need to have the last word in the argument with death by means of the form that endures.” One could also apply this deliberation to Derek Jarman’s BLUE, his final feature-length film before he died of AIDS-related complications in 1994. I’d argue that Jarman didn’t just have the last word—he won the argument; BLUE not only endures, it perseveres. Made as Jarman was losing his eyesight, it consists entirely of a static, monochrome blue “shot,” meant to mimic his evanescent vision, over which he and others (including Tilda Swinton and Nigel Terry) discuss life and art, both his personally and in general, to a haunting score by Simon Fisher Turner. Inspired by the monochrome work of French artist Yves Klein, specifically his painting IKB 79, Jarman achieves with this effect something at once intimate and immense. According to the Tate Modern’s website, Klein considered his monochrome work “to be a way of rejecting the idea of representation” and thought that blue “had a quality close to pure space and he associated it with immaterial values beyond what can be seen or touched.” The latter sentiment resonates with Jarman’s tragic predicament, while the former is at war with the Bazinian dilemma of effigial mortality. Perhaps by eliminating straightforward representation, one can focus on the soul rather than its vessel. In this regard, it’s unique in how it merges experimental and narrative qualities. What may at first seem alienating for viewers unfamiliar with Jarman soon becomes inviting in its courageous closeness. BLUE is the essence of cinema as ontological study, a staggeringly afflictive experience that illuminates film’s most transcendent qualities. (1993, 79 min, Digital Projection) KS
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Matt Johnson’s OPERATION AVALANCHE (New American)
Music Box Theatre – Check Venue website for showtimes

As a stylistic approach, the contemporary narrative mode of “found footage” films can be a bit of a mixed bag. When executed poorly, they can devolve into a series of worn tropes and clichés, but when crafted in combination with a fresh perspective, some interesting viewpoints can be achieved. Falling into the latter category, OPERATION AVALANCHE follows four young CIA agents going undercover as a documentary team tasked with trying to flush out a Soviet spy who has infiltrated NASA; all of which is occurring amidst the heat of the space race during the late 1960’s. When they discover an even bigger secret, the team is charged with faking the Apollo 11 moon landing. Director/co-writer/lead actor Matt Johnson seeks to emulate the aesthetic of the era. The film is shot to look like it was recorded using, amongst others, Super-8 film, complete with scratches and imperfections in the film stock. Johnson’s film is a self-reflexive take on the ever-persistent conspiracy theory that the United States faked the first moon landing. In a very tongue-in-cheek manner, Johnson employs all of the alleged tactics used, such as slowing a scene shot at 48 fps down to emulate the lower gravity of the moon. Stanley Kubrick’s influence looms large over AVALANCHE as his style and oeuvre factor into both the film’s plot and technique—a sequence involving Johnson’s character meeting Kubrick on the set of 2001 is as meta as they come. The film’s quick pacing creates a tense atmosphere with intermittent moments of relief provided by slapstick or humorous asides. Like some of its more recent contemporaries, such as TROLLHUNTER and CHRONICLE, OPERATION AVALANCHE is an invigorating entry into the found footage genre that reveals Johnson as a talent to watch. (2016, 94 min, DCP Digital) KC
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Ben Rivers and Ben Russell's A SPELL TO WARD OFF THE DARKNESS (Contemporary Documentary)
Film Studies Center (at the Logan Center for the Arts, 915 E. 60th St., Univ. of Chicago) – Friday, 7pm (Free Admission)

A SPELL TO WARD OFF THE DARKNESS is one of those rare movies that allows a viewer to simultaneously sink into the world it creates while thinking critically about its premise. Musician and Chicago-ex-pat Robert AA Lowe acts as guide through three different ways of orienting oneself to the outside world: in community, in solitary, or in artistic practice. The audience watches him spend time in an bustling collective, traverse an old growth forest, and perform in a mesmerizing set by Norwegian black metal band Queequeg (which includes Liturgy's Hunter Hunt-Hendrix). Rivers and Russell blend an observational documentary mode with inventive shot composition and marathon long takes to create lush, engaging visual scenarios. All three segments seem to float above everyday life in a swell of leisure--potent fantasies of other ways of living. (2013, 98 min, DCP Digital Projection) CL
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Lucio Fulci's THE BEYOND – Composer’s Cut (Cult Revival/Special Event)
Music Box Theatre – Thursday, 8pm

Lucio Fulci is known as one of the grand masters of over-the-top and ridiculous gore. THE BEYOND is no exception, for the gore is plentiful, but Fulci wisely throws in enough bizarre plot twists and genuinely creepy moments to make this the director's strongest work of the 80s. Set in a sleepy bayou of Louisiana (continuing Fulci's obsession with "Old America"), a young woman has just inherited an old hotel, which she soon discovers is, according to local legend, built on one of the seven doorways to hell. With the help of a visiting pathologist and s strange blind woman, she tries to stop the forces of evil from coming through the gateway and destroying the world. Fulci's not so subtle commentary on class and race conflicts makes its presence felt throughout the film, though it is most apparent in the opening lynching scene. THE BEYOND is, at its heart, an Italian outsider's look at the "corrupt" American south; where better to put a gateway to hell? The film also features the best 'Scope cinematography of Fulci's career. Billed as the “Composer’s Cut,” this screening features a new score by the film’s original composer, Fabio Frizzi, and will be performed live by Frizzi and his band. (1981, 87 min, Digital Projection) JR
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Luther Price: Flesh Fracture 16mm Screening (Experimental)
Mana Contemporary (2233 S. Throop St.) – Saturday, Noon and 2pm (Program One) and 1 and 3pm (Program Two) (Free Admission)

One way to measure the ability of a songwriter is by how well they turn an apparent personal narrative into a universal human experience. They take what they have lived through (or think they should have) and mold it into words that can explain the hopes and fears of everyone. In an almost perfectly opposite position is the found-object artist, and specifically, the subspecies of the found-footage filmmaker. Their task is to take the scraps of mass media and turn it into their own personal story. Much like there are trite pop songs, there are also many dull found-footage films, where the voice of the filmmaker never comes through the images. In the hands of Luther Price, though, unknown industrial films, afterschool specials, and other relics of the recent past, create the perfect canvas for him to paint his thoughts and feelings (sometimes literally). Still not as well known as he should be, even within the obscurity that is the Experimental Film community, Price has created a wealth of cinema gems throughout his now more than 30 years of activity. In part, the reason he can sometimes be missed is the difficulty in seeing most of his work (Price almost never makes prints of his films, preferring to show his fragile originals). One approach he takes is to paint directly on to found footage (such as in his INKBLOT series) or to bury it in the dirt. In both cases he achieves abstract shapes that roll in rhythms of an energy chaos, ultimately finding new territory. The strongest articulation of his editing skill is in KITTENS GROW UP (2007, 29 min), so simple in its approach, yet powerful in impact. Utilizing long takes, with only a hint of the jarring audio scratches that populate many of Price's films, we go back and forth from a film about kittens learning life-skills to one about young children and their alcoholic father. The metaphor of child and kitten, both alone and scared in the world, is easy enough. The delicate task that is done so well here is using the footage of kittens to darken the mood, not soften it. Screening are – Program One: SHELLY WINTERS (2010), THE MONGREL SISTER (2007), and KITTENS GROW UP (2007); Program Two: A PATCH OF GREEN (2004-05), ROCKET (2007), GLUE-6789 (2005), HELEN’S DREAMING: INKBLOT 15 (2008), AFTER THE GARDEN OF EDEN (2007), INKBLOT #22 (2008), and WALKING THE CROSS (2012). (Program One: 2007-10, approx. 45 min total, 16mm / Program Two: 2005-12, approx. 47 min total, 16mm) JH

Woody Allen's ANNIE HALL (American Revival)
Music Box Theatre – Saturday and Sunday, 11:30am

The shiksa-seduction field guide par excellence, ANNIE HALL is so meticulous in the formalities of this particular form of traditional interethnic liaison (tennis dates; going out to depressing art-house documentaries; recommending morbid philosophy at the bookshop) that it can be difficult to determine whether the film originated the technique or merely popularized it. As strong a statement of pointless bohemian romanticism as anything else, the openly melancholic Alvy strides almost fully formed from Kierkegaard's Diapsalmata—having "the best-developed sense of humor" and an unstated allegiance to the idea that "falling in love is the best time of one's life... when with every meeting, every glance, one brings home something new to rejoice over." Allen's now-unenviable lifelong consumerist approach to dating seems here cute, quaint; his portrayal of Los Angeles as a ritualistic utopia debased by technology still vaguely reasonable; and the breathless conclusion—a saccharine, nostalgic summary of the previous 90 minutes—an efficient précis of an entire credo, which you may follow at your peril. (1977, 93 min, 35mm) MC
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David Lynch's ERASERHEAD (American Revival)
Doc Films (University of Chicago) – Thursday, 9:30pm

"It's my Philadelphia Story. It just doesn't have Jimmy Stewart in it." In Lynch's debut feature, a man and a woman conceive a monstrous child somewhere in between suburban alienation and industrial rot, a mostly conventional situation with the most grotesque punchline. Watching ERASERHEAD now feels like wandering through a nightmare more than ever, due in part to its central conceit and the expected barrage of disturbing events and images that it entails--distended faces, animal carcasses, etc.--but even the film's few familiar features add to this dreamlike quality. For example, most of ERASERHEAD takes place in an apartment building whose lobby is recognizable as the Other Place from TWIN PEAKS, and its checkerboard floors trigger a series of half-conscious connections, the common dream trope of a location playing the role of another location. But for every fact we know about the film's production, we're equally uncertain about what it is we're actually looking at, including the creature-child itself, whose uncertain origins have inspired theories that claim it as everything from a cow fetus to an elaborate puppet. Then, amidst this uncertainty, the film's most destabilizing quality emerges: its sweetness. As the father, Jack Nance has a constant wide-eyed, beleaguered stare that is almost as infantile as the creature-child that he tends to, ambivalently at first and then urgently as soon as he sees it in distress. It's effectively moving for the same reason that it's effectively dreamlike, with conscious logic and psychological realism applied to unreal conditions. But because Lynch's mind doesn't seem to format in the conditional or hypothetical, this aspect of unreality is always underlined as literal, so that the scenario of a largely silent father figure demonstrating real concern over his freak spawn is never played as what would happen but what is happening, shifting the focus onto affect and away from conditions. The silhouette of Nance's head has become a visual shorthand for the film, and is also emblematic in many ways of this oddly bound logic; it's shape is both inexplicable and inevitable, and the only place is could possibly make sense is on the floor of a pencil factory, which is exactly where it ends up. (1977, 89 min, 35mm) AO
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Ousmane Sembene's BLACK GIRL (Senegalese Revival)
Black World Cinema (at the Studio Movie Grill, Chatham 14, 210 W. 87th St.) – Thursday, 7pm

Frequently cited as the greatest African filmmaker, Sembene was also a strike leader and novelist before working in cinema. His decision to begin making films grew out of his progressive politics, as he felt he could reach a larger audience with movies than with literature, especially in his native Senegal. Sembene's style was fittingly accessible, sometimes to the point of transparency: he often depicted controversial social issues in terms of everyday life, taking pleasure in human behavior and allowing larger themes to emerge organically from the characters' experiences. This is certainly true of his first feature, BLACK GIRL (LA NOIRE DE...), which broaches the subject of African labor in Europe by regarding the servant girl of the title as she accompanies her employers as they return to France to live. The film is based on one of Sembene's early stories; it exemplifies the concentration and eye for detail best associated with short fiction. Showing with Sembene’s 1963 short BOROM SARRET (20 min). (1966, 65 min, DCP Digital; New Restoration) BS
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The Northwest Chicago Film Society (at Northeastern Illinois University, The Auditorium, Building E., 3701 W. Bryn Mawr Ave.) screens Tay Garnett’s 1932 film OKAY, AMERICA! (78 min, 35mm) on Wednesday at 7:30pm. Preceded by the 1950 documentary THE EDITOR’S NOTEBOOK (Wilding Pictures Productions, 30 min, 35mm).

Chicago Filmmakers (5243 N. Clark St.) presents Lorena Barrera Enciso + Lorenzo Gattorna + Kelsey Velez on Saturday at 8pm. The show includes work by the three local experimental filmmakers.

The Conversations at the Edge series at the Gene Siskel Film Center presents The Perlin Papers (2006-12, approx. 54 min, Digital Projection), a cycle of eight short films by former Chicagoan Jenny Perlin, on Thursday at 6pm, with Perlin in person.

The Nightingale (1084 N. Milwaukee Ave.) presents How to Fight Like a Girl: Recent Video Work Made by Powerful Femmes on Friday at 7pm. The program will include videos by A.J. McClenon, Joey Scher, Kelly Gallagher, Liz Cambron, Molly Hewitt, and Zachary Hutchinson; and on Thursday at 7pm, it’s All Roads Leave Winnipeg: Scott Fitzpatrick, Clint Enns, Aaron Zeghers, with all three filmmakers in person. The multi-format event includes film, film on video, projector performances, and an illustrated talk.

Also at Block Cinema (Northwestern University) this week: Golden Quill: A Retrospective of Films by Noureddin Zarrinkelk, Father of Iranian Animation is on Thursday at 7pm, with pioneering Iranian animator Zarrinkelk in person. Screening are films he made both in Belgium and in his native Iran: DUTY FIRST 1970), A PLAYGROUND FOR BABOOSH (1971), FILIPPO AND THE TRAIN FROM HONG KONG (1972), ASSOCIATION OF IDEAS (1973), THE MAD MAD MAD WORLD (1974), A WAY TO NEIGHBOR (1974), ATAL MATAL (1975), AMIR HAMZA AND THE DANCING ZEBRA (1978), ONE, TWO, THREE MORE (1980), SUPER POWERS (1987), POOD (1998), IDENTITY (2004), LITTLE PRINCE (2006), and EXCELLENCIES (BANI ADAM II) (2015). All digital projection. Free admission.

Museum of Contemporary Art Chicago screens Daviel Shy’s 2016 film THE LADIES ALMANACK (Unconfirmed Running Time and Format) on Tuesday at 6pm, with Shy and producer Stephanie Acosta in person. Free with museum admission (which is free for Illinois residents on Tuesdays).

The Uri-Eichen Gallery (2101 S. Halsted St.) presents the We Want Freedom Film Festival on Saturday and Sunday. The screenings, curated and introduced by local filmmaker Peter Kuttner, complement the “We Want Freedom” exhibit currently on display. Screening are Norm Fruchter and Robert Machover’s 1966 film TROUBLEMAKERS (56 min) with their 1965 short WE GOT TO LIVE HERE (20 min) on Saturday at 4pm; Bob Hercules and Bruce Orenstein’s 1999 film THE DEMOCRATIC PROMISE: SAUL ALINSKY & HIS LEGACY (57 min) with the December 4th Committee’s 1989 short POWER TO THE PEOPLE (26 min) on Saturday at 6:30pm; Mike Gray and Howard Alk’s 1969 film AMERICAN REVOLUTION 2 (76 min) with Kartemquin Films’ 1974 short TRICK BAG (21 min) on Sunday at 3pm; and Mike Gray and Howard Alk’s 1971 film THE MURDER OF FRED HAMPTON (88 min) with the December 4th Committee’s 1989 short RIGHT ON: A FRIEND REMEMBERS FRED HAMPTON (18 min) on Sunday at 6pm. All Unconfirmed Formats (though we assume video projection). Free admission.

Comfort Film at Comfort Station Logan Square (2579 N. Milwaukee Ave.) screens José Ramón Larraz’s 1988 Spanish-American made-for-TV horror film EDGE OF THE AXE (90 min, Video Projection – Unconfirmed Format) on Wednesday at 8pm. Free admission.

Black Cinema House (7200 S. Kimbark Ave.) screens Rebecca Johnson’s 2014 British film HONEYTRAP (93 min, Video Projection – Unconfirmed Format) on Sunday at 4pm at the Stony Island Arts Bank (6760 S. Stony Island Ave.). Free admission.

The Northbrook Public Library (1201 Cedar Lane, Northbrook) screens Michael Powell and Emeric Pressburger’s 1947 film BLACK NARCISSUS (100 min, DCP Digital) on Wednesday at 1 and 7:30pm. Free admission.

Intuit: The Center for Intuitive and Outsider Art (756 N. Milwaukee Ave.) screens David Shapiro’s 2015 documentary MISSING PEOPLE (76 min, Video Projection – Unconfirmed Format) on Thursday at 7pm, with Shapiro in person.

Also at the Gene Siskel Film Center this week: Laura Israel’s 2015 documentary DON’T BLINK – ROBERT FRANK (82 min, DCP Digital) and Elizabeth Wood’s 2016 film WHITE GIRL (88 min, DCP Digital) both play for a week; Michelangelo Antonioni’s 1961 Italian film LA NOTTE (122 min, DCP Digital; New Restoration) screens on Friday and Wednesday at 6pm and Saturday at 3pm; Kevin Baggott’s 2014 film BENEATH DISHEVELED STARTS (115 min, ProRes Digital File) is on Friday at 8pm, with Baggott in person; Juan José Campanella’s 2009 Argentinean film THE SECRET IN THEIR EYES (129 min, 35mm) is on Saturday at 5:30pm and Tuesday at 6pm (with a lecture by SAIC instructor Daniel R. Quiles at the Tuesday show); Antonio Pietrangeli’s 1965 Italian film I KNEW HER WELL (99 min, DCP Digital; New Restoration) is on Saturday at 5:30pm and Monday at 6pm; Gary Lennon’s 2015 Irish/Japanese documentary A DOCTOR’S SWORD (70 min, DCP Digital) is on Saturday at 8pm, with producer Bob Jackson in person; and Aodh Ó Coileáin’s 2016 Irish film THE LARK’S VIEW (52 min, DCP Digital) is on Sunday at 5pm, with Ó Coileáin in person.

Also at Doc Films (University of Chicago) this week: a Grease Sing-A-Long is on Friday at 7 and 9:30pm and Sunday at 1:30pm; Andrew Stanton and Angus MacLane’s 2016 animated film FINDING DORY (110 min, DCP Digital) is on Saturday at 7 and 9pm and Sunday at 4pm; Peter Greenway’s 1982 British film THE DRAUGHTSMAN’S CONTRACT (108 min, 35mm) is on Sunday at 7pm; Alan Pakula’s 1969 film THE STERILE CUCKOO (107 min, 35mm) is on Monday at 7pm; Hany Abu-Assad’s 2005 Palestinian film PARADISE NOW (90 min, 35mm) is on Tuesday at 7pm; Pedro Almodovar’s 1989 film TIE ME UP! TIE ME DOWN! (101 min, 35mm) is on Wednesday at 7; Michael Arias’ 2006 animated film TEKKONKINKREET (111 min, 35mm) is on Thursday at 7pm.

Also at the Music Box Theatre this week: Keitarou Motonaga’s 2016 animated film DIGIMON ADVENTURE TRI CHAPTER 1: REUNION (110 min, Blu-Ray Projection) opens; Ron Howard’s 2016 documentary THE BEATLES: EIGHT DAYS A WEEK – THE TOURING YEARS (138 min, DCP Digital) continues; the CatVideoFest (Approx. 70 min, Digital Projection) is on Sunday at 2 and 5pm; David Lynch’s 1984 film DUNE (137 min, 35mm) is on Saturday at 7pm, introduced by the A.V. Club’s Ignatiy Vishnevetsky; and Christopher Guest’s 2003 film A MIGHTY WIND (91 min, 35mm) is on Wednesday at 7pm, as part of the occasional Sound Opinions series.

Facets Cinémathèque plays Pema Tseden’s 2015 Chinese film THARLO (123 min, Unconfirmed Format) and Linda Yellen’s 2015 film THE LAST FILM FESTIVAL (90 min, Unconfirmed Format) for week-long runs.

Sentieri (3712 N. Broadway Ave.) screens Gennaro Nunziante’s 2016 Italian film QUO VADO? (86 min, Video Projection – Unconfirmed Format) on Saturday at 4pm.



SAIC’s Sullivan Galleries (33 S. State St., 7th Floor) screens local filmmaker Jim Trainor’s 2016 live-action feature THE PINK EGG through October 15 (showing daily, Tuesdays-Saturdays, at 11am, 12:15pm, 1:30pm, 2:45pm, and 4:15pm). Free admission.

Camille Henrot’s 2013 video GROSSE FATIGUE (14 min) is on view at the Museum of Contemporary Art Chicago through December 18.

Block Museum (Northwestern University) presents Salaam Cinema! 50 Years of Iranian Movie Posters through December 11.

Iceberg Gallery (7714 N. Sheridan Rd.) presents George Kuchar: Bocko through October 30. The show includes Kuchar’s 1978 film THE MONGRELOID, paintings, and photographic ephemera—all related to Kuchar’s pet dog Bocko.

The Renaissance Society (5811 S. Ellis Ave., Cobb Hall, University of Chicago) presents a solo show of UK filmmaker Ben Rivers’ moving image works, Urth, through November 6.

Luther Price: Flesh Fracture has been extended at Mana Contemporary (2233 S. Throop) through September 30. Included in the show are selections of Price’s handmade 35mm slides from the series Sugar Fractures, Utopia, and Meat Chapter 3. Also on view are video projections of Price’s 1990/1999 Super-8mm films HOME and MEAT.

The Art Institute of Chicago presents Ragnar Kjartansson and the National's single-channel video work A LOT OF SORROW (2014, 6 hours 9 min looping) through October 17.

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CINE-LIST: September 30 - October 6, 2016

 Patrick Friel

CONTRIBUTORS / Julian Antos, Michael Castelle, Kyle Cubr, Jason Halprin, Christy LeMaster, Anne Orchier, Joe Rubin, Ben Sachs, Kathleen Sachs, Brian Welesko, Kyle A. Westphal, Darnell Witt

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